Popular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.

中文翻译：

---

发明舞蹈，或者，尼日利亚音乐家如何塑造身体政治

流行的舞蹈体现了非洲年轻人的活力。这些动作散发出非洲主义的酷炫美学，使流行音乐充满活力，让大众媒体平台和日常空间充满欢乐的超越意象。这篇文章将脚本舞蹈时尚理解为对公共体现的文本和舞蹈要求。我探讨了三位尼日利亚音乐家和他们的舞蹈如何运用文字提示来引起分散、异质和跨国公众的特定感动反应。这种舞蹈时尚使音乐学方法变得富有成效，这些方法坚持将当代非洲音乐文化与他们经常召唤的舞蹈体分开。总而言之，这些运动将流行文化作为一个领域，以讲述关于音乐所有权和体现公民身份的争论为标志。